Anti-Shows: APTART 1982–84
- Submitting institution
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University of the Arts, London
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 442
- Type
- B - Edited book
- DOI
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- Publisher
- Afterall Books
- ISBN
- 978-1-84638-180-5
- Open access status
- -
- Month of publication
- September
- Year of publication
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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2
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- A co-edited book, single-authored essay and co-authored 130-page chapter and visual chapter on apartment exhibitions and experimental art practices in 1980s Moscow (known as APTART).
The book was co-edited with two leading scholars of 20th-century and contemporary art from Russia, Margarita Tupitsyn and Victor Tupitsyn, and offered detailed documentation and contextualisation of the Moscow art practices with contributions from historians, curators and artists in the field of contemporary art, art history, curating and exhibition studies. A version of the single-authored essay was first published by eflux (2017) but was re-written for this collection to expand arguments and include multiple new annotations. The visual chapter co-authored with Louis Hartnoll presents selected archival images and texts alongside original analysis of the exhibitions.
A guiding principle of the field of exhibition studies is to examine the moments through which art becomes public and, by looking to the social situation of late Soviet Moscow, the publication asked: What practices and politics of exhibition-making may emerge in the absence of a public sphere? To what extent did these artist-to-artist actions constitute a public? What is the significance of APTART within and beyond this immediate context? In addressing these questions, the book highlighted the significance of these actions as a turning point for contemporary art in Russia in the 1980s. The book includes a large amount of never-before-published archival material selected and translated as part of the research process, and assembled in the co-authored 130-page chapter/image section. Morris’ essay focused on approaching these practices outside the intellectual frameworks of the Cold War, which has informed much scholarship on these exhibitions; drawing from original interviews with participants, and identifying comparable practices in a transnational context. The essay was later republished in Russian by Искусствознание (Art Studies Magazine).
- Author contribution statement
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- Non-English
- No
- English abstract
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